Methods and files for delivering imagery with embedded data

ABSTRACT

The present invention is directed to the realistic three-dimensional presentation of images in scenes, and is particularly useful for easily illustrating how artwork would appear on a surface in a scene, such as on a billboard. In one embodiment, image files are provided for use in an imaging application, such as ADOBE® PHOTOSHOP® CS2. The files permit the placement of artwork on scene background, and include embedded surface data that instructs the imaging application to alter the appearance of the artwork according to its placement within the scene. Also described are methods of generating image files for use as templates, and the use of the image files.

CROSS-REFERENCE TO RELATED APPLICATIONS

This application is a continuation of application Ser. No. 11/615,216,filed Dec. 22, 2006, which claims the benefit of U.S. ProvisionalApplication No. 60/753,910, filed Dec. 24, 2006, the entire contents ofwhich is hereby incorporated by reference herein and made part of thisspecification.

BACKGROUND OF THE INVENTION

1. Field of the Invention

The present invention relates to the field of image generation. Moreparticularly, the present invention relates to methods and files thatdeliver imagery with embedded data that can be used to efficientlyrender design concepts.

2. Discussion of the Background

Graphic designers, artists and other creative producers typically usetwo techniques to present creative concepts in a manner which closelyapproximates the appearance of the final product. The first technique isthat of physically building a prototype. Construction of a designprototype (e.g., for product packaging) typically requires the output ofthe design or artwork onto a material suitable in flexibility andstrength for the building of prototype. The design or artwork is outputonto paper using various printing techniques (including, for example,hand printing and inkjet printing), glued to a stiff material such as,for example, cardboard, trimmed and then folded and glued into finalform. The difficulty of constructing a prototype varies greatly anddepends on the complexity and form of the final design. For conceptsthat require materials other than paper or cardboard (e.g., translucentmaterials) “mocking up” (as this physical building process is called)can be extremely time consuming and costly. Once the concept isconstructed it may be traditionally presented in physical form.Photographs of the physical concept may be made and presented in lieu ofthe concept, especially when transport of the physical concept isimpractical.

Recently, artists and designers have begun to use computers to developideas. In addition the development of the Internet has led to the use ofemail as a common method for exchanging text and imagery. Thewide-spread use and integration of software which can read and writehigh resolution image data in many file formats (including, but notlimited to, Portable Group (JPEG) formats) as well as increasinglyavailable broadband connections to email and the web have greatlyincreased the use of high resolution imagery in representing variouskinds of information.

Designers often exchange images with clients to represent designconcepts. However, the ability to precisely communicate the subtledetails and form of a design is lacking. Commonly, designers provideflat graphic representations of the concept to clients. These flatgraphic representations lack the three-dimensional form and photographiccues to properly illustrate the design concept.

Simulating a design concept three-dimensionally on a computer is recentin comparison to constructing a design concept physically. Here, theprocess typically begins with constructing a virtual model “wireframe”on a computer inside a three-dimensional application. The artwork ordesign is then imported into the three-dimensional application andapplied to a three-dimensional object. Lighting is set up inside thevirtual scene, the virtual “camera” is positioned and a final image isrendered. This technique is also quite time consuming and requires avery specialized skill set which the artist or designer who created theconcept rarely possesses. An important deficiency of this technique isthat a reduction in the time spent building, lighting and rendering themodel usually results in a substantially less realistic final renderingof the concept.

A hybrid of the two concepts is a promising approach. Here, a photographof a “real” object or scene with computer imagery rendered onto thesurface provides the realism of an actual photograph combined with thespeed and convenience of three-dimensional rendering. However,constructing and photographing the object is still quite time consuming.

ADOBE® PHOTOSHOP® CS2, which is referred to herein simply as“Photoshop,” is one example of a software application specificallydesigned for compositing imagery which is commonly used byphotographers, retouchers, effects artists and designers to compose afinal image from a number of photographic sources. Image compositingsoftware such as Photoshop provides a useful method for applying artworkto a photographic surface with image layers and multiple compositingsettings.

Many companies, commonly known as “stock photo agencies,” sell “stock”illustration and photography to a worldwide market. Stock photo agenciessell images and illustrations of various objects and scenes for reuse byartists and designers.

Some companies sell “cut out” images (photos of objects with backgroundand shadow information completely removed that have been placed on asolid white background). These images are solely flat images (i.e., theycontain only one plane of image data where, for example, the whitebackground runs together with the object image data as one continuousimage). Occasionally, the images contain vector path data which allowsan image to be trimmed out to appear on a transparent background.

The process for using these cut out images to create an on-screenphotographic design composite is still quite time-consuming and complexsince imagery applied to the surfaces of the objects or scenes depictedin these stock photos must be manipulated, stretched and hand trimmed inorder to fit a surface. Without additional sophisticated retouching, adesign concept cannot be pasted onto stock art, which are flat filesthat lack critical surface data.

Thus, current stock photos are only slightly more efficient thandirectly photographing the object. Accordingly, what is needed isphotographic imagery which contains the necessary trimming and surfacedata to trim and map pasted artwork within a common compositingapplication such as, for example, Photoshop, that provides efficientmethods of producing realistic looking design concepts.

BRIEF SUMMARY OF THE INVENTION

In certain embodiments, a data file is provided that includes imageryand embedded data that can be used to efficiently render designconcepts.

In certain embodiments, a data file is provided that contains both animage and an apparatus for compositing imagery with that image, werecompositing the imagery uses stacked layers that allow the user toeasily add their artwork without disrupting the compositing.

In certain embodiments, a layered image file is provided that isreadable by an imaging application for displaying an image. The imagefile includes at least two layers, which include at least one layerincluding a scene for display within the image, and at least one layeradapted to accept artwork and display the accepted artwork within aregion of the image. The image file further includes embedded dataincluding instructions readable by the imaging application to distortthe accepted artwork, and the at least two layers include information toinstruct imaging application to form the image by compositing. Incertain embodiments, the at least one of the layers is a transparentlayer or is an opaque layer.

In certain embodiments, a method is presented for useful for displayingan image in an imaging application. The method includes providing animaging application compatible image file, where the file includes atleast two layers and embedded data, where the at least two layersincludes at least one layer including a scene for display within theimage, and at least one layer adapted to accept artwork and display theaccepted artwork within a region of the image. The embedded dataincludes instructions for the imaging application to distort theaccepted artwork.

In certain embodiments, the method of providing includes providing theimage file over the Internet or on computer-readable media. In anotherembodiment, the method further includes opening said data file withinthe imaging application, and placing artwork within at least one of saidone or more artwork layers.

In certain embodiments, files for delivering imagery with embedded dataare provided. In some embodiments, the file is a layered image file,comprised of a series of image layers which contain transparency,opacity and color value data organized together in a series of groupingswhich also contain transparency, opacity, vector based masking, andalpha channel data. The masking and alpha channel data may be used tospecifically dictate trimming, pixel-by-pixel opacity and edging datafor the image layers inside the grouping.

In certain other embodiments, the layered image file contains surfacedata, (i.e., a matrix of X-axis, Y-axis, and Z-axis three-dimensionalspatial data) which corresponds to surfaces depicted in the image file.In this embodiment, the file is a layered image file comprised of (inorder from topmost layer to bottommost layer) a series of “artworklayers” (image layers) organized in a series of “layer groups” (imagelayer groupings), which have specific transparency settings andassociated “layer mask” (vector basking masking and/or alpha channelmasking) artwork. Additionally, the layered image file, such as aPhotoshop TIFF file, may contain embedded Vanishing Point planes withthree-dimensional surface data. In this embodiment one or moretransparent object or scene images, one or more layer groups whichinclude one or more transparent object images, a number of layer groupswith associated layers masks, one or more knockout masks, one or moreobject shadows and one or more background layers are provided.

In some embodiments the Photoshop TIFF file contains a vector pathsilhouette shape. In other embodiments, the file is an image file withembedded masking and perspective data that may be used with other imagemanipulation and compositing software. In still other embodiments,vector masks may take place of alpha channel or transparency masks sothat the apparatus can composite photographic imagery with simplervector based layers. In still other embodiments, the image with embeddeddata may act as an internal component to proprietary image editingsoftware which works automatically to apply imported artwork to thesurface of an object or scene. In sill other embodiments, embeddedthree-dimensional surface data may be created and used with a Photoshopsurface or three-dimensional extension or plug-in.

In another aspect the present invention provides methods for deliveringimagery with embedded data. In some embodiments, the method comprisesthe steps of taking a digital image of an object or scene, opening it ina software program, such as, for example, Photoshop, defining asilhouette of the object or portion of the scene to have embedded datawith a path tool, separating the object or portions of the scene onto atransparent layer, creating layer groups with an associated mask foreach face or object surface with the path tool and object silhouette,using the object silhouette to create one or more white shapes whichprecisely match the object or scene, removing the shadow or shadows fromthe photograph of the object image or scene and positioning the objector scene on a transparent layer, creating a solid white background colorand creating layer group folders to appropriately house each artworklayer. The layered document may be saved, for example in layeredPhotoshop TIFF format or native format, PSD.

Certain embodiments are summarized above. However, despite the foregoingdiscussion of certain embodiments, only the appended claims (and not thepresent summary) are intended to define the invention(s). The summarizedembodiments, and other embodiments, will become readily apparent tothose skilled in the art from the following detailed description of thepreferred embodiments having reference to the attached figures, theinvention(s) not being limited to any particular embodiment(s)disclosed.

BRIEF DESCRIPTION OF THE SEVERAL VIEWS OF THE DRAWING

FIG. 1 is a flowchart illustrating one embodiment of a method forproducing an image file with embedded data;

FIG. 2 is a schematic illustration of the layers of an image fileincluding embedded data, as represented in a Photoshop layers palette;

FIG. 3 is a representation of the flow of image data to provide a finalcomposite image;

FIG. 4 is a representation of a method of building an image by importingartwork into a image file having embedded data;

FIG. 5 is a representation of placing user defined artwork on athree-dimensional surface;

FIG. 6 is a representation of a composited image with user definedartwork;

FIG. 7 is a schematic illustration of layers in some embodiments;

FIG. 8 is a schematic illustration of layers in some embodiments;

FIG. 9 is a schematic illustration of layers in some embodiments;

FIG. 10 is a representation of a final composited image with userdefined artwork;

FIG. 11 is a representation a method for building an image with embeddedsurface data from a photographic image;

FIG. 12 is a schematic illustration of layers in some embodiments;

FIG. 13 is a representation of the flow of image data to provide a finalcomposite image; and

FIG. 14 is a schematic illustration of layers in some embodiments;

FIG. 15 illustrates the proportional sizing guideline portion of a filewhich may be used to prepare artwork for use with the apparatus depictedin FIG. 5;

FIG. 16 illustrates the proportional sizing guideline portion of a filewhich may be used to prepare artwork for application to an image filewith embedded surface data as well as prepare artwork for printing;

FIG. 17 is one embodiment of a computer system for viewing image filesas described herein; and

FIG. 18 is another embodiment of a system for viewing image files asdescribed herein.

Reference symbols are used in the Figures to indicate certaincomponents, aspects or features shown therein, with reference symbolscommon to more than one Figure indicating like components, aspects orfeatures shown therein.

DETAILED DESCRIPTION OF THE INVENTION

Although certain preferred embodiments and examples are disclosed below,it will be understood by those skilled in the art that the inventivesubject matter extends beyond the specifically disclosed embodiments toother alternative embodiments and/or uses of the invention, and toobvious modifications and equivalents thereof. Thus it is intended thatthe scope of the inventions herein disclosed should not be limited bythe particular disclosed embodiments described below. Thus, for example,in any method or process disclosed herein, the acts or operations makingup the method/process may be performed in any suitable sequence, and arenot necessarily limited to any particular disclosed sequence. Forpurposes of contrasting various embodiments with the prior art, certainaspects and advantages of these embodiments are described whereappropriate herein. Of course, it is to be understood that notnecessarily all such aspects or advantages may be achieved in accordancewith any particular embodiment. Thus, for example, it should berecognized that the various embodiments may be carried out in a mannerthat achieves or optimizes one advantage or group of advantages astaught herein without necessarily achieving other aspects or advantagesas may be taught or suggested herein. While the systems and methodsdiscussed herein can be used for placing images so that they appear tobe on three-dimensional scenes, the systems and methods can also be usedin other ways: for example, to provide children's coloring-book imagefiles with coloring areas that have 3-dimensional properties, or, forexample, to provide image files for medicine where the image file willrun a series of embedded edge finding and contrast enhancing effects ona user's image before scaling and masking the image for presentation inslide format.

Disclosed herein are data files, methods for generating data files, andapparatuses and methods for distributing data files. In general, thedata files are binary files that, when interpreted by an imagingcomputer program, produces an image. Such a data file is referred toherein, and without limitation, as an “image file.” In general, an imagefile has a structure and/or format that is compatible for opening orinputting to an imaging application or that may be transformed orotherwise manipulated to be opened by or otherwise inputted to animaging applications. Thus, for example, an image file may includebinary data that conforms to an image file standard including, but notlimited to, a Photoshop TIFF or native PSD format. Such a file may thenbe opened, for example, by an imaging application including, but notlimited to, Photoshop and generate an image including, but not limitedto, an image on a computer display or printer. The term “imagingapplication” refers, without limitation, to computer programs or systemsthat can display, render, edit, manipulate, and/or composite imagefiles. Some of the discussion herein utilizes terminology regarding fileformats and the manipulation or structure of file formats that iscommonly used with reference to the Photoshop imaging application. It isunderstood that this terminology is used for illustrative purposes only,and is not meant to limit the scope of the present invention.

In another embodiment, an image file includes embedded data that is usedto distort some or all of the image. The embedded data, which isreferred to herein, and without limitation, as “surface data,” may bethought of as data corresponding to the three-dimensional shape of animage surface. In one embodiment, the image file may also acceptadditional image information, for example by pasting a scene into theimage file that is then distorted according to the surface data. Thus,as one example that is not meant to limit the present invention, theimage file is a multi-layered file. A first layer includes surface datathat is used to distort a scene of a second layer. Thus, for example,the first layer may contain surface data corresponding to athree-dimensional object, such as an inclined plane, cylinder, sphere,or a more complex shape, and the second layer may contain atwo-dimensional scene (either a raster or vector image) at the locationcorresponding to the surface data. When the first and second layer areprovided to the imaging application, the application distorts the secondlayer according to the embedded information of the first layer,producing an image of the scene as distorted by (or wrapped about) thesurface data. Thus inclined plane surface data provides perspective tothe scene, while cylindrical or spherical surface data distort the sceneas it would appear if wrapped about the corresponding three-dimensionalsurface.

FIG. 17 is one embodiment of a computer system 10 for viewing imagefiles as described herein. Computer system 10 includes a processor andmemory 11, one or more input devices 13, and a display 15. The inputdevices 13 include, but are not limited to a keyboard 13 a and agraphical input device, such as a mouse 13 b. Computer system 10 isparticularly adapted for the production, manipulation, and or generationof images (shown, for example as image A on display 15), may alsoinclude additional devices (not shown) including but not limited toprinters, additional displays, and additional or other input devices,and additional processors and/or memory. In one embodiment, computersystem 10 includes the ability to execute instructions of an imagingapplication to generate or manipulate image files to produce images.

FIG. 18 is another embodiment of a system 1 for viewing image files asdescribed herein. System 1 may be generally similar to the embodimentillustrated in FIG. 17, except as further detailed below. Wherepossible, similar elements are identified with identical referencenumerals in the depiction of the embodiments of FIGS. 17 and 18.

System 1 illustrates a system for the transfer of image files or otherinformation to or from computer system 10. As shown in FIG. 18, system 1also includes a second computer system 20, and a network 30. Network 30may be, but is not limited to, combinations of one or more wired and/orwireless networks adapted to transmit information between computers andmay be, without limitation, the Internet or any other communicationsystem. Computer systems 10 and 20 may communicate through network 30,as indicated by arrows C. Communications includes, but is not limitedto, e-mail or the mutual access to certain web sites. In addition, FIG.18 also shows a removable media device 17 of computer system 10, and aremovable media 12 being inserted into media device 17. Removable media12 may be, for example and without limitation, a readable or aread-write device capable of accessing information on a CD, DVD, ortape, or a removable memory device such as a Universal Serial Bus (USB)flash drive.

In one embodiment, image files, which may contain embedded data, areprovided to computer system 10 on removable media 12. In anotherembodiment, image files, which may contain embedded data, are providedto computer system 10 from computer system 20 over network 30.

In another embodiment, the embedded data cannot be interpreted by theimaging application without providing the imaging application withaccess to additional software. Thus, for example, interpretation ofembedded data by the imaging application may require additional softwareeither within, or accessible to, the imaging application. The additionalsoftware may be provided to computer system 10, either with or separatefrom the image file, as a software upgrade to the imaging application oras a plug-in to the imaging application. The software upgrades orplug-ins may be provided to computer system 10 through media 12 or overnetwork 30.

In one embodiment, image file is produced entirely on computer system10. In a second embodiment, the image file is provided to computersystem 10 via media 12 or network 30. In a third embodiment, the imagefile is provided to computer system 10 via media 12 or network 30, andmay be uses as a “template” onto which other images or artwork may beadded and subsequently manipulated by the embedded data of the imagefile.

FIG. 1 is a flowchart illustrating one embodiment of a method forproducing an image file having embedded data. Specifically, and withoutlimitation, the flowchart of FIG. 1 describes a method for deliveringimagery with embedded data onto a photographic image. An image fileprepared according to the method of FIG. 1 may then be used to importadditional images, which are then distorted according to embedded data.Thus, for example and as described subsequently, an image file generatedaccording to the method of FIG. 1 may be used by an image editingapplication, including but not limited to Photoshop on computers system10, to place and distort an imported image according to the embeddedsurface data. As one embodiment, the method of FIG. 1 describes a methodof producing an image file that includes multiple layers and which ismanipulated by an imaging program that can edit and composite such animage file.

At block 101, a digital representation of a photographic of an object orscene (referred to herein without limitation as the “scene”) is openedin an imaging editing application. In some embodiments, the digitalrepresentation is loaded into an imaging application that includesediting and compositing features. At block 102, vector paths, includingbut not limited to Bezier lines (or “Paths”), are drawn to correspondand define a silhouette of an object within the scene that has athree-dimensional shape, which may then be edited at block 101 a. Asdescribed subsequently, embedded data is assigned to the region definedby block 101 a. After the object silhouette has been drawn and saved asone complete path, additional paths may be drawn which define the edgesof portions of the silhouetted object, at blocks 101 b, 101 c, 101 d,etc. The edges may then be used to partition the region defined at block101 a into object portions. In the embodiment of FIG. 1, the imagesshown in blocks 101 a-101 d correspond to a silhouette of a perspectiveview of a box object (block 101 a) and edges of the box faces that arewithin the silhouette faces (blocks 101 b-101 d). Layering of additionalobjects having different silhouettes requires the repetition of block102 for each object. In some embodiments, such as the one illustrated inFIG. 2, there is only one object silhouette (of a box object), and threeregions (each face of the box) within the object.

A path that defines the object silhouette is selected and converted to aselection at block 103. Next, the selection of block 103 is used to cutthe image of the object from the scene, and the cut out image is pastedin place on a new image layer at block 104. At block 105, the scene andits shadow are optionally cropped to provide a margin, such as a oneinch margin.

The silhouetted object is then put into a layer group folder which hastransparency settings set to “pass-through”, while the object image isset to “Multiply” at block 106. In some embodiments, the layer groupfolder is named “object image”. In other embodiments, the layer foldermay be called “scene image,” “surface image,” or another name relatingto the photograph of the object or scene contained in the layer group.

Next, the object regions are identified and manipulated. As an example,each object region is masked off (in Photoshop this may be accomplishedby command-clicking or alt-clicking the trimmed object image) to definethe edge of the silhouetted object and then, using the appropriateobject edge path, as defined at block 102, remove, crop, or add otherfaces to/from the object selection to make a solid, anti-aliasedselection at block 107. The resulting selection of the object region isthen used to create a “layer mask” which is applied to the layer groupwhich represents the face. For example, a layer mask of the top surfacefor a cube shaped box is created. The layer mask is associated with orattached to a layer group called “top face” which contains blank artworklayers called “top face artwork” into which a user may paste artwork.

The method of block 107 is repeated for each object region at block 108.At block 109 the resulting layer groups and associated layer masks ascreated at blocks 107-108 are “stacked” in the layers list immediatelybelow the “object image” layer group and above “material.” In otherembodiments, the face layer groups may come after the “material” layergroup but before “object ko+shadow” as described in FIG. 9.

Surface perspective and shape detail is added to each object region atblock 110. For a box object having planar face regions, surfaceperspective and shape detail is added by creating and positioning aperspective plane for each face. The edge of the perspective faceideally aligns closely to the respective edge of layer mask of the face.If the perspective grid does not align with the layer mask faceadjustments, the paths that indicate faces edges must be made and blocks106-107 must be repeated. In another embodiment of the invention, themethod for creating three-dimensional surface data may done in a moreautomated fashion: for example, after the scene has been photographed, asecond image of the same object or scene with a grid of evenly spacedmarks applied to the face or surface will be photographed from the sameposition as the first image. The second photograph of the scene with thegrid of marks on its faces or surfaces will then be used to define thethree-dimensional surface data for the first image. In still otherembodiments of the invention, surface details, for example, curves,slopes, bumps, texture, and edge details, may be added to the surfaceplane in order to accurately represent the surface.

The remaining background data is then cleaned up at block 111. Imagecontrast and levels controls are used to make the background of anobject on a white background pure white, while keeping shadow dataintact by increasing the contrast of the image. Spot cleanup through theuse of image editing tools such as, for example, brush, eraser, orHealing Tool can fix shadow details or spot out dirt and other non-whitedata in the white area. The entire white background with shadow data(and the hole created by the removal of the object from the backgroundin block 104) are cut and pasted into, for example, the Photoshop “QuickMask” tool. The Quick Mask tool converts color data to grayscale andthen grayscale to transparency values. For example, a solid black squareon white ground will create a square selection area which is 100%opaque, a 50% grey square on white ground will create a square selectionwhich is 50% opaque, etc. Therefore, when a shadow on white ground ispasted into the Quick Mask, a selection that follows the shading of theshadow and background is created which is filled with a neutral orslightly warm grey tone. The transparency values of the selection, asdefined by the Quick Mask tool, mean that the shadow is partiallytransparent in the darkest areas and completely transparent in thelightest areas. The shadow on the transparent background is put into alayer called “shadow.” With an object visible on a superior layer, theshadow is reduced in scale by about 5% to remains aligned with theobject.

A selection area is created corresponding to the object image areacreated in block 107 (selected, for example, by command or alt-clickingthe object image area in Photoshop) at block 112. The selection area isthen contracted by one pixel, the “shadow” layer is selected, and theselected area is deleted. This effectively trims the shadow so that itonly overlaps the object image and “ko” layer by a single pixel, whichremoves any visual gaps between the object and the shadow layer. Thetransparency of the shadow layer is set to “Multiply” so totransparently composite with any image or color data on the “background”layer.

As in block 107, the outline of the photograph object in layer group“object image” is defined at block 113. Next, a new layer is created andthe defined area is used to create a solid white shape, which is a whiteregion or object silhouette. The transparency of this layer is set to“Normal” to affect the layers below as an opaque image. In someembodiments, the transparency of the layer may be adjusted to simulatetranslucency or transparency. The process, supra, is repeated for eachrespective image in the “object image” layer group. The layer with thesolid white object silhouette is then name “ko”. When multiple “ko”layers exist, the layer is named with the name of the object imagephoto+“ko”. For example, when two images inside the “object image” layergroup are called “cd case” and “cd” then the ko layers would be titled“cd case ko” and “cd ko,” respectively. The layers are then reordered sothat the “ko” layer or layers sit above the “shadow” layer. A layergroup titled “object ko+shadow” is created. Both “ko” and “shadow”layers are placed inside the “ko+shadow” layer group as shown at layers207-209 in FIG. 2.

Using the same selection technique as was used to create the “ko” layerin blocks 107 and 112, a layer mask is created for a layer group titled“material” and the transparency of the “material” layer group is set to“Multiply” so that the edge and color data information will mergecleanly with edge mask information at block 114. An empty layer isplaced inside this layer group and titled “material color” and thislayer group is positioned above the “object ko+shadow” layer group. Alayer group folder is created with transparency set to “Normal” at block115. The layer group is titled “background” and a solid color (in thisembodiment, white) or photographic image is put into a layer “backgroundimage” which is placed inside the “background” layer group. The“background” layer group is ordered so that it is at the bottom of thelayers. Once all layers have been built, each layer's transparencysettings are reviewed and adjusted as needed to correctly effect how thelayer artwork will composite to the photographic image at block 116. Anyremaining layers that are not in a layer group are arranged in layergroups, for example, as depicted in FIG. 2.

A sizing guideline is created by drawing and applying a vector or imagebased measurement grid each object region (or surface) of the associatedscene in order to accurately judge the proportional size or relative Xand Y dimensions, that artwork must have in order to scale edge-to-edgeat block 117. The measurements are then used to create a single pagegroup of outlined shapes which match the proportions of each facemeasured. For example, if a face is 10 units wide and 5 units high andthe face is a rectangle with square edges, then a simple square may bedrawn with a width of 2 units and a height of 1 unit or a width of 20units and a height of 10 units. If other faces are measured and drawn onthe same page then these faces must be measured and drawn using the samescale. For example, when the square is drawn to 20 by 10 units, and thenext face is 3 units wide and 5 units high, the next square drawn is 6units wide and 10 units high. The absolute size of shapes is usuallybased on the size required to fit shapes onto a page. Once all surfaceshave been measured and drawn to scale, the page may be saved in eithervector format, such as, for example, ADOBE® ILLUSTRATOR®, which isreferred to herein simply as “Illustrator”, or high-resolution raster(bitmap) format. The sizing guideline apparatus may be used to buildartwork before copying or exporting the artwork to the image file.

The file may be saved, for example, as a layered Photoshop TIFF file atblock 118, or in any other format which maintains the embedded layersand does not flatten the image. In some embodiments the file is aPhotoshop TIFF and has the layer structure depicted in FIG. 2.

FIG. 2 is a schematic illustration the layers of an image file includingembedded data, as represented in a Photoshop layers palette on, forexample, computer system 10. The layers shown in FIG. 2 are some or allof the layers generated using the method embodied in FIG. 1. The layersof FIG. 2 include layers 201 through 211.

Layer 201 is a “pass through” layer group, which does not dictate thetransparency of its enclosed layers, and instead allows those layers tofollow their own individual transparency settings.

Layer 202 is a “multiplied” (transparent) layer containing aphotographic depiction of the object which has been set to “multiply”transparently in order to composite onto layers 203-211. Layer 202provides context, shading and the maximum true object or scenicrepresentational photographic data for the final image with transparencyvalues which isolate the object component of each scene from background.For example, an image of a square cube on white is a photograph of thesquare cube isolated on a transparent background with no shadowinformation or background information. Or, in another example, an imageof a transparent CD tray with CD is represented as a solid object withthe background and shadow of the image removed. In other embodiments,the layers may composite to form a different object or scene. Innumerous embodiments, the object or objects in layer group 201 would berepresented without the background scene located in layer group 210.

A pass though layer group with an associated layer mask which isdesigned to contain all enclosed layers to a boundary area within theobject image is depicted in layer 203. The layer mask may be used todynamically “trim” enclosed layer artwork to a single face of a surfacebelonging to the object depicted in 202 where each following layer mask(203 a and 203 b) shall trim enclosing artwork to its respective face.

A “normal” (opaque) layer or layers that is or are intended to be usercustomized and used as a target for pasting in artwork or imagery to beapplied to the image are found in layer 204. A user may, during the useof these layers, modify the transparency settings to be transparent inorder to achieve various ink effects.

Layers 203 a-204 a, 203 b-204 b are additional pass through layer groupswith associated alpha channel masks which constrain the layers of eachgroup and the artwork pasted into these layers to the top, left andright faces, respectively. In some embodiments, any one of these layergroups may have varying overall opacity settings to simulate differenttypes of printing or surface.

Layer 205 is a transparent layer group which has transparency set to“Multiply” to avoid pixel-on-pixel lightening in anti-aliased areas,with the goal of cleanly compositing the enclosed normal layers.

Layer 205 is a normal layer, that is, an opaque layer which is usercustomized to alter the overall surface of the object in the finalresulting image. In some embodiments, layer 205 contains an opaque,solid color. In other embodiments, layer 205 contains photographic orgraphic imagery. In still other embodiments, layer 205 is empty.

Layer 207 is another pass through layer group.

Layer 208 is a normal or opaque layer which is as an opaque or partiallyopaque mask that hides overlapped pixels in layers 209-211. In someembodiments, layer 208 contains a solid color which is white inappearance and has an RGB color value of 255, 255, 255, respectively. Inother embodiments, layer 208 is comprised of multiple layers, each withcorresponding shape and transparent that mimics the layers contained inlayer group 201.

Layer 209 is a transparent layer with shadow data with transparency datawhere the shadow data goes from solid or partially transparent in darkershadow areas to completely transparent in the lightest shadow areas. Theshadow image data of layer 209 overlaps the outer edge of layers 202 and208 by 1 pixel to avoid any visual gaps between layers 202 and 208 andthe shadow image on the shadow layer.

Layer 210 is another pass through layer group.

Layer 211 is an opaque layer. In some embodiments, layer 211 is a filledsolid color with RGB values 255, 255, 255, respectively.

FIG. 3 is a representation of the flow of image data to provide a finalcomposite image. As described subsequently, FIG. 3 illustrates theplacement of artwork into an image file, including but not limited to animage file produced by the methods of FIG. 1 and/or represented by thelayers of FIG. 2. More specifically, FIG. 3 illustrates an image file ofa cube (shown as including layers 305 through 312 as might be seen, forexample, within Photoshop on computer system 10) that can accept andmanipulate artwork onto each visible cube face. As described in moredetail subsequently, layers 306, 307, and 308 correspond to layershaving embedded surface data and that can accept imported artworkimages, such as vector or raster image format artwork 301, 302, and 303,and manipulate the images according to embedded data, to produce a finalcomposite image 313, such as an image A. Further, when displayed usingan imaging application, such as display 15, image generated by layers305-312 displays a frame 304 on the display, corresponding to theembedded data region of layers 306, 307, and 308, to assist in theplacement of images 301, 302, and 303. Thus, for example, artwork whichhas been created in a vector or raster image format is first sized usingproportioning guidelines that are supplied as numeric dimensions or asvisual shapes which mimic the proportion of each object surface at 301,302, and 303. The correctly proportioned artwork is then exported or“copied” from the source in which it was created and then imported or“pasted” into an image editing and compositing application, for example,Photoshop, so that the artwork for each face is its own document. Inthis embodiment, the artwork images contain transparency data so thatthe artwork “floats” on a transparent background. In other embodiments,the artwork data may contain no transparency data.

Frame 304 provides a visual cue or guideline as to the shape that theartwork 301, 302 or 303 will be distorted to when imported into one oflayers 306, 307 or 308. Frame 304 may be a grid-like image, as shown inthe figure, or may includes lines, marks, or other visual cues as to theshape of the corresponding embedded surface data.

The export/import, moving, and placement of artwork from the sizingguidelines to the object or scene face or surface happens under themanual control of a user. In another embodiment, the process forimporting the artwork happens automatically: the apparatus in thisembodiment may take the form of a self-contained software application, aplug-in extension to existing software applications, documents withinimaging applications, or the form of any combination thereof. In anycase, the apparatus will, in order to automatically apply artwork placedin a specified region of the sizing guideline to the appropriate face orsurface of an object or scene, constantly monitor the appropriate regionof the sizing guideline. When a change is made to the area containedwithin the guideline region the apparatus will automatically load theartwork contained within that region, apply relevant two-dimensional orthree-dimensional transformations and calculations in order to apply theartwork to the face or surface, and then re-render the compositeresulting three-dimensional image. The appearance to the user will bethat the flat sizing guideline region is both a two-dimensionalrepresentation of the three-dimensional surface to which they wish toapply the artwork and that there is a precise, predictable link betweenartwork placed on the two-dimensional region and the artwork thatautomatically appears on the face or surface of the finalthree-dimensional object or scene image composite.

In one embodiment, three-dimensional surface data is linked to all usereditable face layers. Thus, for example, when images 301, 302, and 303are provided to layers 306, 307, and 308, respectively, the embeddedsurface data in each layer is applied to the corresponding image. In theembodiment of FIG. 3, for example, the embedded data is applied toimages by selecting the appropriate artwork document at 301-303, copyingthe artwork to the “clipboard”, selecting the appropriate artwork layerat 306-308, activating the perspective filter or tool (which in thisembodiment is the Vanishing Point filter within Photoshop), pasting theimage onto the perspective filter (represented here at 304), positioningthe artwork (as in FIG. 5 at 507) using the mouse and transformationtools as needed (for example scaling, rotation, or other distortiontools), and then accepting the position. Once the invention's useraccepts the positioning of the image, within the perspective filter ortool, the perspective and surface data assigned during the embedding ofperspective data in the image, which is now contained within the imageand recalled by the perspective filter, is used to alter the artwork andreorient it in space in a way which is appropriate to the acceptedsurface in order to accurately mimic the appearance the image would havewhen applied to a real surface having the same or similar orientation.After altering the image, it is pasted back into the artwork layer whichwas selected earlier at 304. This step is then repeated as needed foreach respective artwork and destination face or layer group. The artworklayers are considered user customizable layers. Each artwork's layergroup folder is masked to an object face, surface, or element.

The object image at 305 is not considered a user customizable layer.However, the invention's user may choose to customize any component as,in this embodiment, all of the layers are editable. The object image isa transparent layer and its layer group folder is unmasked.

The “material color” layer at 309 may be filled with imagery, pattern,or solid color. Or, the material color layer may be left unchanged. Inother embodiments, the material color will be composited above andplaced in a superior position to the layers at 306-308 in the layerlist, so that the material color overlays all artwork. This would bedone, for example, in a situation such as a semitransparent CD case,where the CD artwork may be tinted by the cases material color, texture,or image. The material color is considered a user customizable layer.Its layer group folder is masked to the silhouette of the object.

The artwork layers at 306, 307, 308, are intended to be user customizedwith artwork and are intended to receive user artwork for eachrespective object surface. In some embodiments, the layers receive theuser artwork after it has been applied to a three-dimensional surface at304. In some embodiments, vector or alpha channel based masks trim theartwork layers at 306, 307, and 308 and trim the user artwork beforesuperimposing it transparently, opaquely, or a partially opaquely, overlower layers, represented by 309 through 312.

The “ko” image at 310 is not considered a user customizable layer.However, the invention's user may choose to customize any component as,in this embodiment, all of the layers are editable. One example of usercustomization might be as simple as changing the opacity of the ko imagein order to give the object as translucent appearance. The ko image isan opaque layer and its layer group folder, called “object ko+shadow” isunmasked.

The “shadow” image at 311 is not considered a user customizable layer.However, the invention's user may choose to customize any component as,in this embodiment, all of the layers are editable. One example of usercustomization might be as simple as changing the opacity of the shadowimage in order to lighten its appearance on the background. The shadowimage is a transparent layer and its layer group folder, called “objectko+shadow” is unmasked.

The “background color” layer at 312 may be filled, for example, withimagery, pattern, or solid color. Or, the background color layer may beleft as the default white shade. Should the invention's user wish tocreate a background image that appears to be in perspective, the processwhich occurs at 304 for applying artwork to a face should be followedwith the face closest in orientation to the estimated or desiredorientation of the background surface. For example, in most cube-like orsquare edged objects the closest face will be the top face or face whichsits most horizontally in space. The background color is considered auser customizable layer. Its layer group folder is unmasked.

To display a final composite image at 313, the layers at 305-312 followtheir respective layer masks and transparency settings in order to dothe math to create a single image. The final composite image appears, inthis example, inside Photoshop while the layers remain separate editableelements. In other embodiments, the final composite image may be a flat,non-editable image created by flattening the layers at 305-312.

Referring now to FIG. 4, which is a representation of a method ofbuilding an image by importing artwork into an image file havingembedded data, which may be, for example, the flow of data of FIG. 3.

In one embodiment, artwork is created in a vector format, for exampleIllustrator vector format, at block 401. The vector format artwork isthen copied from Illustrator to the computer's clipboard at block 402and pasted into a new document, for example a Photoshop document, whichconverts the artwork to a raster (bitmap) image format at block 403.

The steps at blocks 402 and 403 are repeated for each piece of artworkat block 404.

At block 405, the artwork for the appropriate face is selected and thencopied. Then, the appropriate artwork layer is selected and at block 405the perspective filter (in this embodiment the Vanishing Point filter inPhotoshop) is selected and the artwork is positioned on the appropriateface.

At block 406, after the invention's user is satisfied with the artwork'sposition and scale they can accept the position to render and save it tothe artwork layer, as selected in block 405.

If artwork is to be applied to other faces then this process at blocks407 and 408 is repeated as necessary at block 407.

Optionally, the material layer may be modified with a solid color orimage at block 408. This is a global change that will alter the entiresurface of the object or scene.

Optionally, the overall opacity and transparency of the artwork layersmay be adjusted to create other effects at block 409. One example issimulating transparent, instead of opaque, inks by changing an artworklayer's transparency from “Normal” to “Multiply”. Another example wouldreducing the shadow opacity (from 100% to 50%, for example) to make anobject's shadow more subtle.

Optionally, the background color layer may be modified with a solidcolor or image at block 410. This will change the background that theobject sits on or the overall tint in a scene. The background layer mayalso be turned off in Photoshop so that the object floats on atransparent layer in order to save the final composite image for use inother applications, for example Illustrator.

The layered image may be flattened or merged in order to discard unusedlayers and reduce file size at block 411. For example, this flattened ormerged file may take the form of a one layer file with transparencydata, a flat RGB image on a white background, or a three layer file withthe object, shadow, and background remaining as separate layers.

Any image resizing, recropping, tinting, or image format changes may beapplied at block 412 before the image is saved.

The final image may be saved in any one of a number of formats at block413. For example, the image may be saved as a layered (TIFF or PSD) orflat (JPEG or Macintosh Picture (PICT)) format that is readable byPhotoshop, other applications, or output devices.

The placement of artwork images and the manipulation by embedded datawill now be described with reference to FIG. 5, which is arepresentation of placing user defined artwork on a grid representation501 of a three-dimensional surface, and includes a top region 502 and aside region 504 of grid 501. Also shown in FIG. 5 is an artwork image503 shown as being positioned over top region 502. In one embodiment,grid 501 and image 503 are presented as image A by an imagingapplication to aid a user in placing artwork on an image containingembedded data. Grid 501 corresponds to an image region having embeddeddata, and may be generally similar to frame 304. In the embodiment ofFIG. 5, the object is a cube shaped box and the three-dimensional gridstructure is made up of three connected three-dimensional planes. Theplanes are carefully positioned to match the object surface in thephoto. In other embodiments, the three-dimensional surface may havecurved surfaces, surfaces that are not connected, or surfaces that donot follow the surfaces in the image in order to create the effect ofsimulating an interaction of artwork and photographic surface.

The grid structure gives feedback to the user to let them know whichplane they are interacting with. For example, in one embodiment, theuser first pastes the artwork into the three-dimensional surface tooland the artwork appears flat, and is unaffected by the three-dimensionalplanes. Using the mouse, the user then drags the artwork over one of thesurface planes to affect the artwork. FIG. 5 shows artwork 503 placed(as indicated by the cursor arrow) over region 502, which corresponds tothe top of the box. In one embodiment, the color of grid 501 changes asartwork 503 is placed over a region, such as region 502. In anotherembodiment, a user may first select the region (such as region 502),which will change color, then paste artwork 503 directly onto the plane.The software that controls the mapping of the artwork to thethree-dimensional plane will then proportionally scale the artwork sothat it is as large as possible without it being cropped. Once thescaling has completed, the user may rescale, rotate, distort or edit theartwork as needed. In still another embodiment, the software thatgoverns the three-dimensional structure is able to “know” which artworklayer or layer group the artwork is being pasted into and highlights thecorresponding surface plane when the three-dimensional window firstappears.

A key component of feedback given during the positioning application ofthe artwork to the three-dimensional plane is that moving or resizingthe artwork with the mouse changes the perspective and surfacedistortion of the artwork in real time, in accordance with the gridstructure, so that the artwork appears to be moved and resized on thesurface of the object. The feedback allows a user to more accuratelyvisualize the final appearance of the artwork as it will be after theartwork is approved and applied to the object's artwork layer. Inanother embodiment an addition to the three-dimensional gridfunctionality causes the pasted artwork to be automatically, andproportionally scaled to fit the appropriate object face without theneed for manual scaling input from the invention's user. In oneembodiment the artwork is trimmed by the associated alpha channel orlayer mask with the layer group before preview. In this embodiment, theartwork is shown without being trimmed and is trimmed once the userapproves the positioning of the artwork.

Moving the pasted artwork from one surface grid to another (for example,region 504) will deselect the current grid and select the new surfacegrid which will then govern the distortion and perspective of the user'sartwork.

Referring now to FIG. 6, which is a representation of a composited imagewith user defined artwork, which may be similar to final composite image313. The image of FIG. 6 includes three regions (specifically, a topregion 601, a left region 602, and a right region 603) and a shadow 604,and illustrates that, in one embodiment an image, such an image of acube box, can have various types of user defined artwork map to thesurfaces of the box to closely mimic an image a cube shaped box withartwork actually printed on it.

The final application of user defined artwork (for example, the artworkdepicted on top region 601) realistically simulates the appearance of areal cube with artwork printed on the cube and then photographed. Thisis because the artwork is cleanly trimmed to the edges of the objectface, because it is mapped to a three-dimensional surface which matchesthe object in orientation and perspective, and because the photographicshading and color of the object image is applied to all underlyinglayers including the artwork layers.

In areas without user defined artwork, color, or other treatments, suchas that depicted on left region 602, the object or scene's image is pureand unmodified because the transparent object or scene image orphotograph is overlaid on nothing more than the white “ko” layer. Foreach non-transparent pixel, the pure white “ko” layer would contain RGBvalues of (255, 255, 255) and the object image would contain R, G, Bvalues that may vary. When compositing together the final R, G, B valueswould match those of the object image.

Artwork layers, for example the artwork layer depicted at right region603, which are floated on a transparent background and thus containtransparency data appear to be printed opaquely on the object surfacebut will also opaquely print over lower artwork layers, allowing thoseartwork layers to show through only where the artwork layer'stransparency allows for it.

By having the shadow layer stacked below the object image, for exampleshadow 604, and ko image layers, the shadow cleanly and realisticallycomposites below the opaque object and ko image layers and sitstransparently on top of the background image. In another embodiment,such as that depicted in FIG. 10, where the background contains an imageor pattern instead of a solid white color, as shown in this embodiment,details of the background image would show through the transparentshadow image as they would with a real shadow.

Referring now to FIG. 7, which is a schematic illustration of layers ofanother embodiment, which may be generally similar to the layers of FIG.2 or 3, and which includes embedded data for an image that includes abillboard. Layer 701 is a “pass through” (allowing both transparent andor opaque layers) layer group which contains layer 702, a“multiplied”-(transparent) layer. Layer 702 contains, in thisembodiment, a photographic object, in this example a photographicdepiction of a billboard, which has been set to “multiply” transparentlyin order to composite it onto layers 703 through 710 for the purpose ofproviding context, shading, and the majority of true object or scenicrepresentational photographic data for the final image with transparencyvalues set to isolate each scene's object component from its background.In this embodiment the final rendering will be an outdoor scene with abillboard.

Layer 703 is a pass though layer group and associated layer mask. Inthis embodiment the layer mask may be used to dynamically “trim”enclosed layer artwork to a single face of a surface belonging to theobject depicted in layer 702.

Layer 704 is an artwork layer, with transparency set to normal, that isintended to be user customized and used as a target for pasting inartwork or imagery to be incorporated into the final composited image.

Layer 705 is a multiplied layer group which has been set to multiply inorder to avoid pixel-on-pixel lightening in anti-aliased areas, with thegoal of cleanly compositing the enclosed normal layers.

Layer 706 is a normal layer which is intended to be user customized andwhich, because it sits between multiplied layer 702 and normal layer708, alters the overall surface of the object in the final resultingimage. In one embodiment, layer 706 contains an opaque, solid color. Inother embodiments, photographic or graphic imagery may used instead ofsolid color in other to provide an overall texturing effect. In stillother embodiments, layer 706 may be left empty so as to keep the objectsurface unmodified.

Layer 707 is a pass through layer group which contains layer 708. Layer708 is an layer with transparency set to normal which serves as anopaque or partially opaque mask in order to hide or obscure overlappedpixels on layers 709-710 and which, in this embodiment, contains a solidcolor which is white in appearance and has a color value 255, 255, 255,respectively. In other embodiments layer 707 may contain multiple layerslike layer 708, each with corresponding shape and form attributes thatmimic the respective layers contained in the layer group at layer 701,with corresponding transparency data attributes that approximate thetrue transparency of the objects or scenes contained in the respectivelayers contained in the layer group at layer 701, and with correspondingedge data that closely visually mimics and closely matches the edge datafrom respective layers contained in the layer group at layer 701.

Layer 709 is a pass through layer group which contains layer 710. Layer710 is a normal artwork layer which, in this embodiment, containscontinuous tone graphic or photographic image data, for example aphotograph of a scene with the image of the billboard itself removed andplace in layer 702.

FIG. 8 is a schematic illustration of layers of another embodiment,which may be generally similar to the layers of FIG. 2, 3, or 7, andwhich includes embedded data for an image that includes a truck. whichis a schematic illustration of layers in some embodiments; layer 810 isa pass through layer group at containing motion effects layer 811 andpartially opaque layer 812.

Layer 811 is an effects layer, in this embodiment being a motion blureffects layer, which renders a pre-specified motion blur to the finalcomposite or composite preview of the lower layers automatically aftereach change to the image content of the layers. So, for example, ifartwork is applied to layer 804 and the resulting image beforeapplication of artwork is a slightly blurred truck without artwork onits roof, then after application of the artwork the resulting imagewould automatically recalculate and re-render to be a slightly blurredtruck with blurred artwork on its roof. Effects layer 811 is not limitedto motion blurs and in other embodiments may take the form of any one ofa numerous imaging effects: for example, “glow”, “invert”, “color tint”,“texturize”, etc. In still other embodiments, effects layer 811, may bea “layer style” within an image editing application (for example,Photoshop) layers palette. In still other embodiments, the effects layermay not be contained within a layer group. In still other embodimentsthe effects layer may be an integrated component or rendering stepwithin a self-contained application or the effects layer may be arendering step that is only represented in how it affects the finalcomposite image and not represented as a visual part of the graphicaluser interface.

Layer 812 is a partially opaque layer at which contains, in thisembodiment, an image of the highlights (bright, accented, or reflectiveareas) of the image which because they are on an upper layer aresuperimposed on imagery contained on lower layers duringcompositing/rendering. Layer 812, in this embodiment, contains highlightimage data which may be created by hand isolating it from the originalsource image or, alternatively, hand created and based on the originalsource image used to create the file. Layer 812 may also give alightening effect to lower layers as opposed to the transparent objectimage in most embodiments which gives a shading effect to lower layers.

Layer 801 is a multiplied layer group at which has been set to multiplyin order to avoid pixel-on-pixel lightening in anti-aliased areas, withthe goal of cleanly compositing the enclosed normal layers, and whichcontains normal opacity layer 802 which is intended to be usercustomized Layer 802 alters the overall surface of the object in thefinal resulting image as well as layers 803 and 804 because it sits ontop of layers 803 though 809. In one embodiment, layer 802 contains anopaque, solid color. In other embodiments, photographic or graphicimagery may used instead of solid color in other to provide an overalltexturing effect. In still other embodiments, this layer may be leftempty so as to keep the object surface unmodified.

Layer 803 is a transparent layer group and associated layer mask which,in this embodiment, may be used to dynamically “trim” enclosed layerartwork to a portion or single face of the surface belonging to theobject depicted in layer 806 and which, in this embodiment, have layertransparency set to be “multiplied” in order to give an ink effect toartwork layer 804 which simulates transparent ink. Layer 804 hastransparency set to normal as it is intended to be user customized andused as a target for pasting in artwork or imagery to be incorporatedinto the image.

Layer 805 is a pass through layer group containing transparent layer 806which contains a photographic image of an object, in this example adepiction of a truck which has its layer transparency attributes set tobe opaque in order to composite it onto layers 807 though 809 for thepurpose of providing true object or scenic representational photographicdata for the final image. In this embodiment the final rendering will bean outdoor scene with a truck.

Layer 807 is a transparent layer with shadow data that contains shadowimage data with transparency data, where the shadow data goes from solidor partially transparent in darker shadow areas to completelytransparent in the lightest shadow areas. Layer 807 is set to have itsshadow image data overlap the outer edge of the artwork or image inlayer 806 by 1 pixel in order to avoid having any visual gaps betweenthe image in layer 806 and the shadow image on layer 807.

Layer 808 is a pass through layer group which contains normal layer 809which, in this embodiment, contains a continuous tone graphic orphotographic image with the image of the used surface, in this example atruck, removed and moved to layer 806.

Referring now to FIG. 9, which is a schematic illustration of layers insome embodiments, layer 901 is a pass through (allowing both transparentand or opaque layers) layer group which contains a “Multiplied”(transparent) layer, found at layer 902. Layer 902 contains, in thisembodiment, a photographic depiction of the object which has been set to“Multiply” transparently in order to composite it onto layers 903through 911 for the purpose of providing context, shading, and themajority of true object or scenic representational photographic data forthe final image, with transparency values set to isolate each scene'sobject component from its background.

Layer 903 is a transparent layer group at which has been set to Multiplyin order to avoid pixel-on-pixel lightening in anti-aliased areas, withthe goal of cleanly compositing the enclosed normal layers.

Layer 904 is an opaque layer which is intended to be user customizedwhich, because it sits between transparent layer 902 and semi-opaquelayer 908 alters the overall surface of the object in the finalresulting image. Opaque layer 904 sits above layers 905, 906, 905 a, 906a, 905 b, and 906 b and thus affects not only the overall material colorof the object depicted at layer 902 but also the artwork contained onlayers 906, 906 a, and 906 b in order to give the artwork the look ofbeing printed on a translucent material. In this embodiment, layer 904contains an opaque, solid color.

Layer 905 is a pass though layer group at with an associated layer maskwhich has been designed to contain all enclosed layers to a boundaryarea within the object image depicted in layer 902. In this embodimentthe layer mask may be used to dynamically “trim” enclosed layer artworkto a single face of a surface belonging to the object depicted at layer902. Whereas each following associated layer mask (such as layer 905 aand layer 905 b) shall trim enclosed artwork layers and the artwork theycontain to its respective face.

Layer 906 is an opaque artwork layer that is intended to be usercustomized and used as a target for pasting in artwork or imagery to beapplied to the image. The user may, during the use of these artworklayers, modify the transparency settings to be transparent in order toachieve various ink effects.

Layers 905 a, 906 a, 905 b, and 906 b are additional pass through layergroups and artwork layers with associated alpha channel masks. In thisembodiment, these are used to constrain each group's layers, and theartwork pasted into these layers, to the top, left, and right faces,respectively.

Layer 907 is a pass through layer group containing layer 908, Asemi-opaque/semi-transparent layer which serves as a partially opaquemask in order to hide or mask out overlapped pixels on layers 909-911and which, in this embodiment, contains a solid color which is white inappearance, and has a color value 255, 255, 255, respectively, with anoverall opacity of 30%. Layer 908 also contains transparency data thatestimates the true transparency of the object depicted in layer 902 withedging defined by transparency data that closely visually mimics andclosely matches the edge data from, in this embodiment, the layerscontained in layer group 901.

Layer 909 is a transparent layer with shadow data that contains shadowimage data with transparency data where the shadow data goes from solidor partially transparent in darker shadow areas to completelytransparent in the lightest shadow areas.

Layer 909 is set to have its shadow image data overlap the outer edge oflayers 902 and 908 by 0 pixels in order to avoid having any visualoverlap between the shadow image on shadow layer 909 and thesemi-transparent ko layer 908 or object image in layer 902.

Layer 910 is a pass through layer group containing layer 911, which isan opaque layer which, in this embodiment, contains a filled solid colorwith RGB values 255, 255, 255, respectively.

Referring now to FIG. 10, which is a representation of a finalcomposited image with user defined artwork, layer 1001 is a pass thoughlayer group with an associated layer mask which, in this embodiment isused to dynamically “trim” enclosed artwork to a single face of asurface belonging to the object depicted in FIG. 10.

Layer 1002, in this embodiment, is an opaque artwork layer that isintended to be user customized and used to house artwork or imagerywhich has been pasted into the artwork layer in order to be applied tothe image. In this embodiment, layer 1002 contains an example of usercreated artwork: an opaque set of lines on a transparent background. Inother embodiments layer 1002 may contain numerous user artwork ofunknown classification and design.

Layer 1003, in this embodiment, is an opaque artwork layer that isintended to be user customized and used to house artwork or imagerywhich has been pasted into the artwork layer in order to be applied tothe image. In this embodiment, layer 1003 contains an example of usercreated artwork: an opaque circle on a transparent background. In otherembodiments layer 1002 may contain numerous user artwork of unknownclassification and design.

A depiction found at 1004 which indicates how layers 1001, 1002, 1003,and other layers, which are not shown, composite to build a final image.In this embodiment, artwork layers are floated on a transparentbackground (i.e. contain transparency data) and thus appear to beprinted opaquely on the object surface but will also opaquely print overlower layers, allowing superior layers to obscure the pixel data onlower levels where the superior levels have opaque pixel data, whileshowing through pixel data from lower levels where the superior levelshave an absence of opaque pixel data and thus transparent pixels or atransparent field.

Referring now to FIG. 11, which is a representation a method forgenerating an image with embedded surface data from a photographicimage. The method commences at block 1101 with first digitallyphotographing the object or traditionally photographing and thenscanning in the image of the object. The resulting digital image is thenloaded into an imaging editing application.

Vector Bezier lines (or “Paths”) are drawn to define the edge of theobject at block 1102. After the silhouette of the object has been drawnit is saved as one complete path. The layering of additional objectswill require repetition of the process for each object.

The path that defines the object is used to mask and trim out the objectfrom the image and paste it in place on a new image layer at block 1103and the object layer's transparency is set to “Multiply” so that it willbe transparently composited with the image or color data on lowerlayers.

The remaining background data is then cleaned up using image editingtools at block 1104. This is generally done by increasing the contrastof the image. Any remaining spot cleanup can then be done to fix shadowdetails or spot out dirt and other non-white data in the white areathrough the use of image editing tools. With the object visible on asuperior layer, the shadow is reduced in scale by about 5% so that itremains aligned with the object. The shadow is then trimmed from itssurrounding image using a path drawn to enclose the shadow area withoutcutting any of it off, then the path which silhouettes the object isused to trim the shadow mask area so that the resulting shadow path doesnot include any object image. The shadow image is then cut out put intoa new layer titled “shadow”. This effectively trims the shadow so thatits pixels sit adjacent to the object image pixels. The “shadow” layer'stransparency is set to “Multiply” so that it will be transparentlycomposited with the image or color data on lower layers. A similartechnique can be applied to the images of other layers by extending themso that they appear to be adjacent or beneath to the artwork.

A new layer is created and a solid white fill color is used to fill thelayer with edge-to-edge white color at block 1105. As in block 1104, atrimming area is made by using the object silhouette path as defined inblock 1102. This selection area is then removed from the white fillarea, leaving a transparent hole in the white fill which preciselymatches the silhouette and position of the object. This layer is titled“background color” (the title here indicates how the layer affects thefinal image composite and not its position in the layer list) and is setto be opaque or “Normal” so that no visible image information from lowerlayers will appear on the final composite.

A new layer is created and titled “material” at block 1106. The color ofthe material layer is set to be edge-to-edge white and the transparencyof the “material” layer is set to “Multiply” so that when the color ofthe material layer is altered, by the invention's user, the color datainformation will tint the object and artwork in the final imagecomposite and so that any transparency of the object will be maintained.

In this embodiment, a new layer or layer group is created which istitled “highlight” at block 1111. First, artwork is extracted whichrepresents the lighter areas of the image. To do so, contrastenhancement, similar to that used at block 1104, is used but for thepurpose of capturing light areas instead of shadow areas. The resultingimage is cleaned and trimmed using a combination of path and selectiontools. A blur is applied to soften the edges of the highlight. Finally,the highlight is trimmed to fit inside the appropriate object, face, orsurface (in this case the bottle image) by alt or command-clicking onthe respective layer (for example, at layer 1203 in FIG. 12), invertingthe selection to select everything except for the bottle, and thentrimming away the excess by deleting it. Finally, the highlight layeropacity is set to be 30% to make the layer partially opaque. Otherembodiments may contain any combination of layers, each containing aneffect (such as the motion blur of a moving automobile, the glowachieved by the use of a soft-focus lens, a color tint, or texture),reflection (such as the room environment on a glass bottle), foregroundimagery (such as wires and telephone poles in a scene of a billboard),and highlight, as previously mentioned.

One or more artwork layers are created as a space for the user to placetheir artwork at block 1107. Later, at the discretion of the user, theapparatus may be modified to include more layers or to include layermasks for the artwork layers.

Once all layers have been built, each layer's transparency settings arereviewed and arranged in the order at block 1108, in this embodiment asdepicted in FIG. 12.

The image and set of layers are cropped or repositioned as needed atblock 1109.

In this embodiment, the file may be saved as a layered image file atblock 1110 (for example, a layered Photoshop native file) so long as theformat maintains the embedded layers and does not flatten the image. Inanother embodiment, the file is saved as a layered TIF file.

Referring now to FIG. 12, which is a schematic illustration of layers insome embodiments, the schematic shows layers both before (at layers1201) and after (at layers 1208) user customization.

Layers 1217 and 1218 are partially opaque layers containing, in thisembodiment, an image of the highlights (bright, accented, or reflectiveareas) of the image at layer 1210 which generally have a lighter coloror white (RGB=(255,255,255)) fill color. Because layers 1217 and 1218are on an upper layer are superimposed on imagery contained on lowerlayers during compositing/rendering. The image in layers 1217 and 1218may be hand isolated from the original source image or, alternatively,hand created and based on the original source image used to create theapparatus. In this embodiment, layers 1217 and 1218 gives a lighteningeffect to lower layers as opposed to the transparent object image onlayers 1203 and 1210 in most embodiments which gives a shading effect tolower layers.

Layers 1202 and 1209 are transparent layers with shadow data thatcontains shadow image data with transparency or masking data that ismasked in order to have its shadow image data precisely butt up againstimage data in layers 1203 and 1210 respectively.

Layers 1203 and 1210 are “multiplied” (transparent) layers whichcontain, in this embodiment, a photographic depictions of the objectwhich have been set to “multiply” transparently in order to compositeonto layers 1204-1207 and layers 1211-1218 respectively for the purposeof providing context, shading, and the majority of true object or scenicrepresentational photographic data for the final image with masking andtransparency data set to isolate each scene's object component from itsbackground.

Layers 1204 and 1211 are opaque layers which serve as opaque orpartially opaque masks in order to hide or block overlapped pixels onlower layers such as layers 1205 though 1207 and layers 1212 though 1218respectively. In this embodiment, layer 1204 and layer 1211 contain asolid color which is white in appearance, and has an RGB color value of255, 255, 255, respectively. Layers 1204 and 1211 are masked to opaquelyobscure the image data on layers 1205 through 1207 and layer 1212through 1216 respectively except for that which underlies thesilhouetted shape of the object at layers 1203 and 1210. Should there betransparency or opacity attributes in the object images at layers 1203and 1210, they should be reflected in layers 1204 and 1211 respectively.For example, if the object image at layer 1203 depicts a purely opaqueobject then layer 1204 would be a solid fill, in this example a solidcolor, with an object silhouette having 0% opacity. However, if theobject image at layer 1203 instead depicts an object with 70% opacitythen layer 1204 would be a solid fill, again in this example a solidcolor, with an object silhouette having 30% opacity. In otherembodiments, layers 1204 and 1211 may contain solid color orphotographic data while continuing to contain masking or transparencydata that closely visually mimics and closely matches the opacity andobject edge of the object depicted at layers 1203 and 1210.

Layers 1205, 1212, 1213, and 1214 are opaque artwork layers that areintended to be user customized and used as a target for pasting inartwork or imagery to be applied to the image. The user may, during theuse of these artwork layers, modify the masking settings as in layer1214, create additional layers as in layers 1212 through 1214, or modifythe transparency settings of any of the layers in order to achievevarious layering and ink effects. In other embodiments, usercustomizable artwork layers, such as layers 1212, 1213, and 1214, may,without user customization, contain vector or alpha masks, in the samemanner that other embodiments of the invention previously mentionedcontain layer groups with vector or alpha channel based layer masks.

Layers 1206 and 1215 are opaque layers which, in one embodiment, have afilled solid color with RGB values 255, 255, 255 respectively.

Layers 1207 and 1216 are opaque layers which, in one embodiment, have afilled solid color with RGB values 255, 255, 255 respectively

Referring now to FIG. 13, which is a representation of the flow of imagedata to provide a final composite image. User artwork 1301, 1302, and1303 may be created in a vector or raster image format, and is firstsized using proportioning guidelines that are supplied as numericdimensions or as visual shapes which mimic the proportion of each objectsurface. The correctly proportioned artwork is then exported or “copied”from the source in which it was created and then imported or “pasted”into the artwork layers, in this embodiment at layers 1307-1309. In thisembodiment, the vector artwork images contain transparency data so thatthe artwork “floats” on a transparent background. In other embodiments,the artwork data may contain no transparency data.

The “highlight” image layer 1313 which contains isolated highlightportions of the image depicted in layer 1305 and serves to lighten lowerlayers, including user artwork layers 1307-1309, by having partiallyopaque white or light, or in one embodiment, transparent “Screened”layer attributes in Photoshop. The highlight layer is not considered auser customizable layer. It is a partially opaque layer or transparent“Screened” layer which is not masked.

The “shadow” image layer 1304 is not considered a user customizablelayer. However, the invention's user may choose to customize anycomponent as, in this embodiment, all of the layers are editable. Oneexample of user customization might be as simple as changing the opacityof the shadow image in order to lighten its appearance on thebackground. The shadow image is a transparent layer called “shadow”which is masked to exclude everything on the layer but the shadow andthe white background that it sits on.

The object image layer 1305 is not considered a user customizable layer.However, the invention's user may choose to customize any component as,in this embodiment, all of the layers are editable. The object image isa transparent layer and its layer group folder is unmasked.

The background color layer 1306 may be left as the default white shade.Should the invention's user wish to customize the appearance of thebackground in the final composited image this layer may be filled withimagery, pattern, or solid color. The background color is considered auser customizable layer. Its layer is masked to exclude the silhouettedshape of the object at layer 1305.

Artwork layers 1307, 1308, 1309, are intended to be user customized withartwork and are intended to receive user artwork for each respectiveobject surface. In some embodiments, vector or alpha channel based maskstrim the artwork layers at layers 1307, 1308, and 1309 and trim the userartwork before superimposing it transparently, opaquely, or a partiallyopaquely, over lower layers, represented by layers 1310 and 1311.

The “material color” layer 1310 may be filled with imagery, pattern, orsolid color. The material color layer is considered a user customizablelayer. Layer 1310 is an opaque layer which is not masked.

The “solid white” layer 1311 is filled with a solid color having RGBvalues 255, 255, 255, respectively. The solid color layer is notconsidered a user customizable layer. Layer 1311 is an opaque layerwhich is not masked.

To display a final composite image, as depicted as image 1312, layers1304-1311 follow their respective masks and transparency settings inorder to do the math to create a single image. In this example, thefinal composite image appears inside the image editing application (forexample, Adobe Photoshop) while the layers remain separate editableelements. In other embodiments, the final composite image may be a flat,non-editable image created by flattening layers 1304-1311.

Referring now to FIG. 14, which is a schematic illustration of layers insome embodiments, the schematic shows layers for a cube image (at layers1401) and an outdoor billboard (at layers 1412); layer 1402 is atransparent layer group and associated layer mask which, in thisembodiment, is used to dynamically “trim” enclosed layer groups tocleanly match the surface belonging to the object depicted in layer 1408and which, in this embodiment, have layer transparency set to be“multiplied” in order to allow the surface details and shading of theobject in 1408 to shade the artwork superimposed on it. Layer 1402contains pass through layer groups 1403, 1403 a, 1403 b, 1405. Each passthrough layer group contains an opaque artwork or color layers 1404,1404 a, 1404 b, 1406. Layer 1407 is a layer group which contains anopaque object image on a transparent background 1408 and asemi-transparent to transparent shadow on a transparent background 1409.Layer 1410 is a layer group containing an opaque color (in this examplesolid white) or in another embodiment an opaque photographic image 1411.Layer 1413 is a pass through layer group containing a multipliedtransparent black edging which smoothly blends into a transparentcircular center in order to emphasize the center of the final image.Layer 1415 is a transparent layer group and associated layer mask which,in this embodiment, is used to cleanly mask it's enclosed pass throughtransparency layer groups (1416 and 1419) and their respectivelyenclosed layers, 1417, 1418 which are semi-opaque screened transparencyartwork layers and 1420, 1421 which are opaque user artwork and usercolor layers, onto the opaque background image 1423 enclosed in opaquelayer group 1422.

In one embodiment, the guidelines are used as follows. Sizingguidelines, such as those of FIG. 14, are used to apply artwork to theleft face of a three-dimensional photographic cube such as theembodiment represented in FIG. 5, the invention's user would simplyplace their artwork inside the region of the square titled “left” (forexample, FIG. 14 at layer 1402). The apparatus would immediately “see”(by calculating a change using a difference algorithm) that artworkvector object(s) or artwork pixels have changed within the region atlayer 1402. In another embodiment, the invention's user would cue theapparatus to apply the artwork using a graphical user interface devicesuch as a clickable button. In both cases, the apparatus would apply theartwork by first proportionally enlarging or reducing the scale of theartwork to match the size of the three-dimensional objects face (with,in this embodiment, the edge of the square representing the edges of theobject face), applying it to an artwork layer such as the one found atlayer 204 b in FIG. 2, and render a composite image. In the earlierembodiment, any user alterations to the artwork inside the region wouldcause the apparatus to, by repeating the herein mentioned process,automatically update the artwork on the face and re-render the compositeimage.

Referring now to FIG. 15, which illustrates the proportional sizingguideline portion of a file which may be used to prepare artwork for usewith the apparatus depicted in FIG. 5

In one embodiment, sizing guidelines 1501, which are either anintegrated layer or an entirely separate file from the image file,function to aid in the scaling of user created artwork so that it isproportional to each respective object or scene face or surface.Guidelines 1501 include left guidelines 1502, top guidelines 1503, andright guidelines 1504. In this embodiment the apparatus is a vector artfile (for example, an Illustrator file) having US letter size edgedimensions of 8.5 by 11 inches. This size is frequently used because itis a common printing size.

As detailed at block 117 each shape (in this example squares), depictedas guidelines 1502, 1503, and 1504 is created by first drawing a vectoror image based measurement grid and applying it to each object face orsurface of the associated object or scene image in order to accuratelyjudge the proportional size, or relative X and Y dimensions, thatartwork must have in order to scale edge-to-edge. The measurements arethen used to create a single page group of outlined shapes which matchthe proportions of each face measured. For instance, if a face ismeasured to be 10 units wide and 5 units high and the face is arectangle with square edges, then the shape should be drawn as if viewedfrom a pure front view. In this case a simple square is drawn with awidth of 2 units and a height of 1 unit or similarly, with a width of 20units and a height of 10 units. If other faces are measured and drawn onthe same page then it is important that these faces must be using thesame scale. In other words, if, using the above example the square isdrawn to 20 by 10 units, if the next face is measured to be 3 wide and 5high the next square drawn would be drawn at 6 wide and 10 high. Theabsolute size of the shapes is usually based on the size needed to fitit and other shapes onto a page. In other embodiments, other shapes maybe used. For instance, if the shape represents a circular surface, suchas the surface of a CD or DVD, then the shape would be a circle and ifthe surface is irregular then the shape would be drawn to best reflectthat irregular shape as viewed from a pure front view. A label is placedinside each shape (e.g. label “top” 1505) so that that a user mayclearly associate each shape with the face or surface it represents onthe target image. Because a 3D surface or object face is representedhere as a series of shapes (in this example squares), an indication isgiven (e.g. indication “up” 1506) as to the orientation the artwork willhave once applied and rotated to fit on the object or surface face. Onceall surfaces have been measured and drawn to scale the page should besaved in either vector format, such as Illustrator, or high-resolutionraster (bitmap) format to maintain its precision. The invention's usermay then later use the sizing guideline apparatus to build their artworkbefore copying it or exporting it to the image apparatus.

Referring now to FIG. 16, which illustrates another embodiment of theproportional sizing guideline.

In this embodiment, the sizing guidelines are drawn to be used for awide rectangular box which is sealed by end caps on the right face andthe face which opposes the right face. Edge guides 1602, 1603, and 1604are similar to those in FIG. 15 but differ in proportion, due to thefact that the object represented is different. As with FIG. 15, a labelis placed inside each shape (e.g. label “top” 1605) so that the user mayclearly associate each shape with the face or surface it represents onthe target image. Because a 3D surface or object face is representedhere as a shape or a series of shapes (in this example squares), anindication is given (e.g. indication “up” 1606) as to the orientationthe artwork will have once applied and rotated to fit on the object orsurface face so the user will be able to scale and position theirartwork accordingly.

In this embodiment additional guides (e.g. guides 1607, 1608, 1609,1610) are supplied which allow the sizing guidelines to aid not only inpreparation of artwork for application to the image file but also inpreparing that same artwork for printing and production in a traditionalprinting process, such as an offset printing press with post-printingdie cutting, gluing, folding, and assembly. In this embodiment the usercan both visualize and prepare final artwork using the same guidelines,where the guidelines depicted in FIG. 15 aid the user in preparing theirartwork for the image file but do not specifically aid the user inpreparing their artwork for printing and production. In this embodiment,this is achieved by the shapes and guides, which make up theproportional sizing guideline, being based on or defined by mechanical“die lines” used by printers to define cutting and gluing locations on aprinted sheet. In this embodiment the object depicted in the image filehas been constructed using very similar guidelines and thus theguidelines depicted in FIG. 16 may be used to size the artwork and toprepare the artwork for print and production. In this embodiment onlysurfaces that are depicted in the object image will be labeled (e.g.label “top” 1605) in order to help the user understand which faces arevisible in the object image. In this embodiment, all of the facesdepicted in the sizing guidelines are part of the object or surface inthe scene or object image. However, the unlabeled faces are hidden fromview.

In the previously mentioned embodiment, the export/import, moving, andplacement of artwork from the sizing guidelines to the object or sceneface or surface happens under the manual control of the invention'suser. In another embodiment, the process for importing the artworkhappens automatically: the apparatus in this embodiment may take theform of a self-contained software application, a plug-in extension toexisting software applications, documents within imaging applications,or the form of any combination thereof. In order to automatically applyartwork placed in a specified region of the sizing guideline to theappropriate face or surface of an object or scene, the apparatus willconstantly monitor the appropriate region of the sizing guideline. Whena change is made to the area contained within the guideline region theapparatus will automatically load the artwork contained within thatregion, apply relevant two-dimensional or three-dimensionaltransformations and calculations in order to apply the artwork to theface or surface, and then re-render the composite resultingthree-dimensional image. The appearance to the invention's user will bethat the flat sizing guideline region is both a two-dimensionalrepresentation of the three-dimensional surface to which they wish toapply the artwork and that there is a precise, predictable link betweenartwork placed on the two-dimensional region and the artwork thatautomatically appears on the face or surface of the finalthree-dimensional object or scene image composite.

The method and apparatus described in the invention have applications toother fields as well. For example: a police sketch artist may use oneembodiment of the invention which automatically applies a mug shot to aspecific region of a scene (for instance, displaying a portrait of thesubject within a surveillance camera image to ascertain how the actualsurveillance image and the one generated by the invention compare), acommercial photographer may use another automated embodiment to apply aproduct image to a web page design, a hair stylist may use anotherembodiment of the invention to preview the face of their customer withvarious hairstyles, a piece of children's software may use an embodimentof the invention which is contained within a stand-alone softwareapplication to apply and display images of a child's drawings (whichhave been captured using a digital camera) to an animatedthree-dimensional scene within the software application.

It will be apparent to those skilled in the art that many modifications,both to materials and methods, may be practiced without departing fromthe scope of this disclosure. Accordingly, the present embodiments areto be considered as illustrative and not restrictive, and the inventionis not to be limited to the details given herein, but may be modifiedwithin the scope and equivalents of the allowed claims.

1. A non-transitory computer-readable media encoded with computerexecutable instructions comprising a layered image file readable by animaging application for accepting and automatically manipulating artworkwithin a scene of an image, said image file comprising: at least twolayers including at least one layer including a scene for display withinthe image, and at least one layer adapted to accept artwork and displaythe accepted artwork within a region of the image; and embedded dataincluding instructions, where said instructions are within said imagefile prior to said image file being read by the imaging application, andwhere said instructions are readable by the imaging application toperform manipulations to distort the accepted artwork, such that theimaging application automatically distorts artwork accepted in saidsecond layer according to said embedded data.
 2. The non-transitorycomputer-readable media of claim 1, where said imaging application isADOBE® PHOTOSHOP®.
 3. The non-transitory computer-readable media ofclaim 1, where said image file is editable in the imaging application.4. The non-transitory computer-readable media of claim 1, where saidimage file is in TIFF format or PSD format.
 5. The non-transitorycomputer-readable media of claim 1, where said embedded data includesdata corresponding to a shape of the scene.
 6. The non-transitorycomputer-readable media of claim 1, where said embedded data instructsthe imaging application to distort the accepted artwork to appear to asbeing on a surface in the scene.
 7. The non-transitory computer-readablemedia of claim 1, where said embedded data includes vanishing pointinformation.
 8. The non-transitory computer-readable media of claim 1,where at least one layer adapted to accept artwork has a maskcorresponding to a region of the image, and where each mask instructsthe imaging application to display the corresponding accepted artworkwithin the corresponding region of the image.
 9. The non-transitorycomputer-readable media of claim 8, where said embedded data includesdata corresponding to a three-dimensional shape of the scene, and wheresaid at least two layers includes information to instruct imagingapplication to form the image by compositing said at least two layers.10. The non-transitory computer-readable media of claim 1, where said atleast two layers include information to instruct imaging application toform the image by compositing said at least two layers.
 11. Thenon-transitory computer-readable media of claim 10, where at least oneof said at least one layer adapted to accept artwork is a transparentlayer.
 12. The non-transitory computer-readable media of claim 10, whereat least one of said at least one layer adapted to accept artwork layersis an opaque layer.
 13. The non-transitory computer-readable media ofclaim 12, where at least one of said at least two layers includesshading information for compositing to form the image.
 14. Thenon-transitory computer-readable media of claim 10, where at least oneof said at least one layer includes transparency information to retainshading data in the compositing of said at least two layers.
 15. Thenon-transitory computer-readable media of claim 10, where at least oneof said at least two layers includes information for compositing theimage while retaining at least some value data information.
 16. Thenon-transitory computer-readable media of claim 10, where at least oneof said at least two layers includes information instructing the imagingapplication to distort the image.
 17. The non-transitorycomputer-readable media of claim 10, where at least one of said two ormore layers provides shading and/or and highlighting information for theimaging application to apply to the image.
 18. The non-transitorycomputer-readable media of claim 10, where at least one of said at leastone layer adapted to accept artwork includes color tinting informationfor the imaging application to apply to the image.
 19. Thenon-transitory computer-readable media of claim 1, where said embeddeddata is presented by the imaging application as a visual representationof the surface represented by the embedded data.
 20. The non-transitorycomputer-readable media of claim 19, where said visual representation isa grid.
 21. The non-transitory computer-readable media of claim 1, wherethe imaging application displays at least one of said at least one layerincluding a scene on top of at least one of said at least one layeradapted to accept artwork.
 22. The non-transitory computer-readablemedia of claim 1, where the imaging application displays at last one ofsaid at least one layer including a scene behind at least one of said atleast one layer adapted to accept artwork.
 23. A method for acceptingand automatically manipulating artwork within a scene of an image asdisplayed by an imaging application on a computer, said methodcomprising: providing an image file readable by the imaging application,where said image file includes at least two layers and embedded data,where said at least two layers includes a first layer including a scenefor display within the image, and a second layer adapted to acceptartwork and display the accepted artwork within a region of the image,and where said embedded data includes instructions, where saidinstructions are within said image file prior to said image file beingread by the imaging application, and where said instructions arereadable by the imaging application to perform manipulations to distortthe accepted artwork, such that the imaging application automaticallydistorts artwork accepted in said second layer according to saidembedded data.
 24. The method of claim 23, where said imagingapplication is ADOBE® PHOTOSHOP®.
 25. The method of claim 23, where saidimage file is editable in the imaging application.
 26. The method ofclaim 23, where said image file is in TIFF format or PSD format.
 27. Themethod of claim 23, where said embedded data includes data correspondingto a shape of the scene.
 28. The method of claim 23, where said embeddeddata instructs the imaging application to distort the accepted artworkto appear to as being on a surface in the scene.
 29. The method of claim23, where said embedded data includes vanishing point information. 30.The method of claim 23, where at least one layer adapted to acceptartwork has a mask corresponding to a region of the image, and whereeach mask instructs the imaging application to display the correspondingaccepted artwork within the corresponding region of the image.
 31. Themethod of claim 30, where said embedded data includes data correspondingto a three-dimensional shape of the scene, and where said at least twolayers includes information to instruct imaging application to form theimage by compositing said at least two layers.
 32. The method of claim23, where said at least two layers include information to instructimaging application to form the image by compositing said at least twolayers.
 33. The method of claim 32, where said second layer is atransparent layer.
 34. The method of claim 32, where said second layeris an opaque layer.
 35. The method of claim 34, where at least one ofsaid at least two layers includes shading information for compositing toform the image.
 36. The method of claim 32, where at least one of saidat least two layers includes transparency information to retain shadingdata in the compositing of said at least two layers.
 37. The method ofclaim 32, where at least one of said at least two layers includesinformation for compositing the image while retaining at least somevalue data information.
 38. The method of claim 32, where at least oneof said at least two layers includes information instructing the imagingapplication to distort the image.
 39. The method of claim 32, where atleast one of said two or more layers provides shading and/or andhighlighting information for the imaging application to apply to theimage.
 40. The method of claim 32, where said second layer includescolor tinting information for the imaging application to apply to theimage.
 41. The method of claim 23, where said embedded data is presentedby the imaging application as a visual representation of the surfacerepresented by the embedded data.
 42. The method of claim 41, where saidvisual representation is a grid.
 43. The method of claim 23, where theimaging application displays said first layer on top of said secondlayer.
 44. The method of claim 23, where the imaging applicationdisplays said first layer behind said second layer.
 45. The method ofclaim 24, where said providing includes providing the image file overthe Internet or on computer-readable media.
 46. The method of claim 24,further comprising: opening said data file within said imagingapplication; and placing artwork within said second layer and displaythe accepted artwork within a region of the image.